Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Rafi


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

As I see in the “some stats” page, Lyricist poet Majrooh Sultanpuri has 525 songs in the blog, which is the highest so far for a lyricist in the blog. The word “Majrooh” could not have been his real name. It is the “takkhallus” (Pen name) of the poet. “Majrooh” means injured/pained or a someone broken hearted and in pain. Others may have a different view of this words meaning, but I hate to go to online dictionaries to find meanings of urdu words. I would rather go by the feel.
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“Aag aur Daag” (1970) was produced by Swarn singh and directed by A Salaam. this movie had Joy Mukherjee, Komal, Jayant, Zeb Rahman, Helen, Master Bhagwan, I. S. Johar, Madan Puri, Sudhir, Rajan Haksar, Kundan, Paro, Sumeet Pathak, Raj Rani, Roopali, Samina, Shabana, Shaloo, Shefali, M.B. Shetty etc in it.
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This article is written by Raja, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

My last few posts have been about songs of the 1970s. As I’ve explained before, this is only because I find it easier to talk about that decade. Some golden-era film and music lovers may even like to call it the decadent decade 😉 – and they would not be entirely wrong, in my opinion.
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This time I have found a very rare duet sung by Asha Bhonsle and Mohammed Rafi. It is from the film “Minister”(1959). The song is written by Rajendra Krishan and composed by Madan Mohan. I have not heard or seen this song before. But it is a nice and funny song performed on screen by Tun Tun and Bhagwaan. It is the eternal fight between husbands and wives, which holds good across cultures world wide. Wife accusing husband of being irresponsible and careless and husband complaining that wife is always ready for a fight and doubting the husband at every turn.
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In Hindi movies of the golden era, there was this common enough situation where the lead pair would carry out their romantic pursuits silently without even talking, and obviously without even singing a song. So what would happen in such circumstances ? Very conveniently, a two to three persons troupe would appear on the road (one carrying a harmonium- compulsory, other carrying a dholak-optional, but desirable, and a female dancer- highly desirable, but often optional)and they would sing a song, and the words of the songs would express the feelings of the shy duo.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Last night, on our way back home after attending a marriage reception, I heard a song ‘simti huyi ye ghadiyaan’ in a FM Radio channel in our car. I had heard this song a few years back but I was not able to recall the name of the film, lyricist and music director except that I could recognise the voices of Lata Mangeshkar and Mohammed Rafi. After getting nowhere to seek the answer, I asked my sister who was travelling with me and who has a good knowledge about old Hindi film songs, whether she knew about the song. Initially, she thought that I was testing her knowledge on the old Hindi film songs. It was only when I said in all seriousness that I did not know anything about this song other than the singers that she started applying her mind on my question.
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There have been quite a few Rafi songs where Rafi has sung with such high energy levels that the listeners are left gasping for breath literally. To this day I keep wondering how a singer can sing with such high energy level throughout in a song lasting well over three minutes and sometimes more. Songs of “Junglee”(1961), “Rajkumar”(1964),”Prince” (1967),”Saawan Bhaadon”(1970) etc readily come to mind as songs whose energy levels could have lit up a few households if harnessed properly.
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“Dastak” (1970) was a movie on a theme that called for mature audience, But Indian audience, media as well as the censors were not mature at that time. Such movies were regarded as obscene and were given A certificates. Instead of attracting mature audience to the movie halls, such movies attracted immature audiences hoping to find some titillating scenes in the movies.
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